小说《宠儿》的后现代主义研究
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摘要
作为第一位获得诺贝尔文学奖的美籍非裔作家,托尼·莫里森因其作品独特的叙述技巧,深远的主题和诗化的语言而成为备受瞩目的黑人女作家之一员。作为一位作家,莫里森勇敢地融个人魅力与政治洞察力于一体,以此引发不同年龄,不同性别,甚至是不同种族的读者的共鸣。她的杰作《宠儿》曾获1988年普利策小说奖,一直被评论家视为“黑人文学历史的里程碑。”
本篇论文展现了《宠儿》获得如此卓越成就并吸引众多读者的原因不仅仅在于作者对母亲杀婴这一怪异事件的精彩描述,更在于其用以表达这一恐怖事件的独特艺术技巧。《宠儿》植根于肥沃的非美文化,同时吸收了欧美文学的精髓,特别是后现代叙事技巧这一主流来展现其创作的独特之处。论文尝试分析《宠儿》的叙述时间,叙述视角和人物等后现代叙述技巧。宠儿的叙述策略整合了意识流,内心独白,以及以读者为中心的叙述方式,引发了一场复杂的叙述狂欢。
论文首先对托尼·莫里森的生平作了简要阐释,以证实作者的童年及工作经历对《宠儿》艺术成就的影响。
第二部分对当今国内外关于《宠儿》的评论作了简要探讨。评注重点集中于艺术性的叙述策略和永恒的黑人主题两方面。通过评注,论文试图结合后现代技巧来分析宠儿所揭示的主题。
主体部分集中探讨《宠儿》所采用的后现代叙述技巧。第一小节主要阐述了后现代主义的特点及与后现代主义文学的关系。第二小节研究了作品支离破碎的叙述时间。通过循环,倒叙,顺叙这三种叙述策略,论文在描绘一幅模糊过去和现在时空界限的骨架的同时,揭露了奴隶所遭受的奴役和苦难,从而成就了极美的艺术效果。第三小节从宠儿的叙述视角(零聚焦,外聚焦,内聚焦)着手,深入分析作者如何依靠视角的转化,生动再现塞思杀婴事件。第四小节证实作者如何依靠对宠儿这一核心人物四种主要“性格特征”(行动,外貌,言语及环境)的精心描绘来引导和扰乱读者的视线,最终刻画和还原了一个历史的,真实的宠儿形象。第五小节展示了作者对语言的精心刻画;浅析了作者如何运用非洲文学传统和西方文学传统来贯彻其美学思想;描绘了作者如何运用独特的布鲁斯音乐,颇具意蕴的形象,及抒情的方式来诗化整个语言。第六小节探索莫里森如何运用意象如树和颜色的象征意义来为宠儿增色。塞思背上的树这一意象的反复出现和反复强调,恰巧增强了模棱两可的意念:一方面,树是塞思曾经遭遇的苦难的见证;另一方面,从爱弥的视角来看,树又转化成了一剂治愈塞思内心伤痛的良药。而颜色这一重要的意象贯穿整部作品。特别是黑,白,红三种颜色被赋予较多矛盾而深刻的象征意义。而在西方,令人厌恶的红色恰成为展示黑白冲突的工具。
通过对《宠儿》后现代叙述策略的细致分析,论文最终揭示了作品的美学价值和永恒的主题:回顾黑奴在残酷的奴隶制度下的悲惨历史,最终建构黑人和白人间和谐的关系。
Toni Morrison, the first Afro-American writer to award Nobel Prize in Literature, is one of the most prominent black female writers whose works are characterized by diverse narrative techniques, profound epic themes, and poetic language. As a writer, she personifies courage, blending her personal charm and the political insight and doing so in a way that resonates for readers of every age, gender and race. Her masterpiece Beloved, winning the Pulitzer Prize for Fiction in 1988, is highlighted by critics as“a milestone in black literature history.”
The writer of the thesis presents the argument that the reason why Beloved achieves such extraordinary success and attracts so many readers all over the world lies not only in her fantastic or bizarre depiction of a mother’s infanticide, but in her peculiar artistic skill to articulate such horrifying incident. Beloved, rooted in the fertile soil of African-American culture, also absorbs the essence of Euro-American literature to serve the uniqueness of Toni Morrison’s writing, specially the mainstream of postmodern narrative techniques. The thesis is an attempt at making a tentative and systematic analysis of narrative chronology, perspective and the characterization of Beloved in the postmodern narrative techniques. Toni Morrison’s narrative strategies in Beloved incorporate stream of consciousness, interior monologue together with reader-oriented narration and thus stir a complicate narrative carnival.
The thesis begins with a brief survey of the biography of Toni Morrison to estimate how Morrison’s childhood, as well as her working experiences impinges on her reputation for Beloved.
The second part makes a brief investigation about the criticism of Beloved so far done, encompassing the latest research abroad, and at home. The concentration is mainly on its artistic narrative strategies and its permanent themes of blackness. By review, the paper attempts to make a combination between the skill and the theme involved.
The body part then focuses on the complete and skillful adoption of postmodern narrative techniques in Beloved. The first section centers on the characteristics of postmodernism and tends to reveal its relation to the postmodern literature. The second section of the body on the fragmentary chronology; by articulating some basic patterns underlying such time sequences, with emphasis on circular orders, flashback, and flash-forward, the paper points to the skeleton of the blurry demarcation between the past and the present, while simultaneously revealing the enslavement and suffering connected with it, and arouses an unique effect. The third section starts from the narrative discussion on how Morrison, the artist depends on focalization, with special regard to zero (omniscient) focalization, external focalization, and internal focalization to regulate and conduct the narrative so to recur Sethe’s infanticide vividly. Next section on characterization is an effort to identify how Morrison relies on the deliberate depiction of Beloved’s four main character-indicators ---action, external appearance, speech, and environment to guide or misguide reader’s sight to figure a historical and real image of Beloved. On the discussion on its salient language, the paper extends the deliberation on technique to the question of how Morrison’s experiments on language, how the interplay between two literary traditions---African tradition and Western tradition helps to implement his aesthetics, how the peculiar features of music of blues, suggestive images and lyrical language shared in both traditions makes the language more poetic. The last main section is on how Morrison uses symbolic meaning of motifs as tree and color to make Beloved the best possible. The image of the tree upon Sethe’s back, which insistently stressed, is taken up now and again to reinforce the sense of ambiguity: on the one hand, it is a testifier of the enormity that Sethe endures once; on the other hand, it transforms into a healing portion from Amy’s perspective to disturb the reader’s judgment. The images of color, prominent through the novel, with more focus on the black, white, and red is endowed with more contrasting yet profound allusion. The irritating red color is implemented by the author to reproduce the conflict between the black and the white.
Through the detailed analysis of postmodern narrative strategies of Beloved, the thesis comes to explore its aesthetic value and eminent theme: recalling Negro's wretched history under horrifying institution of slavery and constructing a harmonious relationship between the black and the white ultimately.
本篇论文展现了《宠儿》获得如此卓越成就并吸引众多读者的原因不仅仅在于作者对母亲杀婴这一怪异事件的精彩描述,更在于其用以表达这一恐怖事件的独特艺术技巧。《宠儿》植根于肥沃的非美文化,同时吸收了欧美文学的精髓,特别是后现代叙事技巧这一主流来展现其创作的独特之处。论文尝试分析《宠儿》的叙述时间,叙述视角和人物等后现代叙述技巧。宠儿的叙述策略整合了意识流,内心独白,以及以读者为中心的叙述方式,引发了一场复杂的叙述狂欢。
论文首先对托尼·莫里森的生平作了简要阐释,以证实作者的童年及工作经历对《宠儿》艺术成就的影响。
第二部分对当今国内外关于《宠儿》的评论作了简要探讨。评注重点集中于艺术性的叙述策略和永恒的黑人主题两方面。通过评注,论文试图结合后现代技巧来分析宠儿所揭示的主题。
主体部分集中探讨《宠儿》所采用的后现代叙述技巧。第一小节主要阐述了后现代主义的特点及与后现代主义文学的关系。第二小节研究了作品支离破碎的叙述时间。通过循环,倒叙,顺叙这三种叙述策略,论文在描绘一幅模糊过去和现在时空界限的骨架的同时,揭露了奴隶所遭受的奴役和苦难,从而成就了极美的艺术效果。第三小节从宠儿的叙述视角(零聚焦,外聚焦,内聚焦)着手,深入分析作者如何依靠视角的转化,生动再现塞思杀婴事件。第四小节证实作者如何依靠对宠儿这一核心人物四种主要“性格特征”(行动,外貌,言语及环境)的精心描绘来引导和扰乱读者的视线,最终刻画和还原了一个历史的,真实的宠儿形象。第五小节展示了作者对语言的精心刻画;浅析了作者如何运用非洲文学传统和西方文学传统来贯彻其美学思想;描绘了作者如何运用独特的布鲁斯音乐,颇具意蕴的形象,及抒情的方式来诗化整个语言。第六小节探索莫里森如何运用意象如树和颜色的象征意义来为宠儿增色。塞思背上的树这一意象的反复出现和反复强调,恰巧增强了模棱两可的意念:一方面,树是塞思曾经遭遇的苦难的见证;另一方面,从爱弥的视角来看,树又转化成了一剂治愈塞思内心伤痛的良药。而颜色这一重要的意象贯穿整部作品。特别是黑,白,红三种颜色被赋予较多矛盾而深刻的象征意义。而在西方,令人厌恶的红色恰成为展示黑白冲突的工具。
通过对《宠儿》后现代叙述策略的细致分析,论文最终揭示了作品的美学价值和永恒的主题:回顾黑奴在残酷的奴隶制度下的悲惨历史,最终建构黑人和白人间和谐的关系。
Toni Morrison, the first Afro-American writer to award Nobel Prize in Literature, is one of the most prominent black female writers whose works are characterized by diverse narrative techniques, profound epic themes, and poetic language. As a writer, she personifies courage, blending her personal charm and the political insight and doing so in a way that resonates for readers of every age, gender and race. Her masterpiece Beloved, winning the Pulitzer Prize for Fiction in 1988, is highlighted by critics as“a milestone in black literature history.”
The writer of the thesis presents the argument that the reason why Beloved achieves such extraordinary success and attracts so many readers all over the world lies not only in her fantastic or bizarre depiction of a mother’s infanticide, but in her peculiar artistic skill to articulate such horrifying incident. Beloved, rooted in the fertile soil of African-American culture, also absorbs the essence of Euro-American literature to serve the uniqueness of Toni Morrison’s writing, specially the mainstream of postmodern narrative techniques. The thesis is an attempt at making a tentative and systematic analysis of narrative chronology, perspective and the characterization of Beloved in the postmodern narrative techniques. Toni Morrison’s narrative strategies in Beloved incorporate stream of consciousness, interior monologue together with reader-oriented narration and thus stir a complicate narrative carnival.
The thesis begins with a brief survey of the biography of Toni Morrison to estimate how Morrison’s childhood, as well as her working experiences impinges on her reputation for Beloved.
The second part makes a brief investigation about the criticism of Beloved so far done, encompassing the latest research abroad, and at home. The concentration is mainly on its artistic narrative strategies and its permanent themes of blackness. By review, the paper attempts to make a combination between the skill and the theme involved.
The body part then focuses on the complete and skillful adoption of postmodern narrative techniques in Beloved. The first section centers on the characteristics of postmodernism and tends to reveal its relation to the postmodern literature. The second section of the body on the fragmentary chronology; by articulating some basic patterns underlying such time sequences, with emphasis on circular orders, flashback, and flash-forward, the paper points to the skeleton of the blurry demarcation between the past and the present, while simultaneously revealing the enslavement and suffering connected with it, and arouses an unique effect. The third section starts from the narrative discussion on how Morrison, the artist depends on focalization, with special regard to zero (omniscient) focalization, external focalization, and internal focalization to regulate and conduct the narrative so to recur Sethe’s infanticide vividly. Next section on characterization is an effort to identify how Morrison relies on the deliberate depiction of Beloved’s four main character-indicators ---action, external appearance, speech, and environment to guide or misguide reader’s sight to figure a historical and real image of Beloved. On the discussion on its salient language, the paper extends the deliberation on technique to the question of how Morrison’s experiments on language, how the interplay between two literary traditions---African tradition and Western tradition helps to implement his aesthetics, how the peculiar features of music of blues, suggestive images and lyrical language shared in both traditions makes the language more poetic. The last main section is on how Morrison uses symbolic meaning of motifs as tree and color to make Beloved the best possible. The image of the tree upon Sethe’s back, which insistently stressed, is taken up now and again to reinforce the sense of ambiguity: on the one hand, it is a testifier of the enormity that Sethe endures once; on the other hand, it transforms into a healing portion from Amy’s perspective to disturb the reader’s judgment. The images of color, prominent through the novel, with more focus on the black, white, and red is endowed with more contrasting yet profound allusion. The irritating red color is implemented by the author to reproduce the conflict between the black and the white.
Through the detailed analysis of postmodern narrative strategies of Beloved, the thesis comes to explore its aesthetic value and eminent theme: recalling Negro's wretched history under horrifying institution of slavery and constructing a harmonious relationship between the black and the white ultimately.
引文
[1] Ashraf, Rushdy H. A.“Daughters Signifying History,”in Toni Morrison’s Beloved, ed. Linden Peach. New York: St. Martin’s Press, 1998.
[2] Bonnie Anglo. An Interview with Toni Morrison: The Pain of Being Black. May 22, 1989, p.68
[3] Carden, Mary. Models of Memory and Romance: The Dual Endings of Toni Morrison's Beloved. Twentieth Century Literature, 1999.
[4] David, Ron. Toni Morrison Explained: A Reader’s Road Map to the Novels [M]. New York: Random House, 2000.
[5] Davis, Kimberly. "Postmodern blackness": Toni Morrison's 'Beloved' and the end of history. Twentieth Century Literature, 1998.
[6] Draper, James P. ed. Black Literature Criticism [M]. Detroit: Gale Research, 1992, p.1422
[7] Ellison, Ralph. Richard Wright’s Blues (A). Shadow and Act. New York: Vintage Books, 1995, p.75
[8] Ferguson, Rececca. History, Memory and Language in Toni Morrison’s Beloved. New York: Hemel Hempstead, 1991.
[9] Foucault, Michael. The Archaeology of Knowledge. New York: Harper Colophon, 1972.
[10] Frye, Northrop. The Great Code: The Bible and Literature. London: Routledge, 1982, p.148
[11] Genette, Gerard. Narrative Discourse [M]. Trans, Jane E. Lewin. Ithaca: Cornell University Press, 1980, p.189, p.190, p.191.
[12] Genette, Gerard. Narative Discourse Revisited [M]. New York: Cornell University Press, 1990, p.74
[13] Gilroy, Paul. Living Memory: A Meeting with Toni Morrison [A]. Small Arts: Thoughts on the Politics of Black Culture. London: Serpent’s Tail, 1993, p.165-87
[14] Grewal, Gurleen. Circles of Sorrow, Lines of Struggle: the Novels of Toni Morrison. Baton Rouge: Louisiana State University Press, 1998, p.74
[15] Guthrie, Danille-Taylor. ed. Conversations with Toni Morrison. Jackson: University Press of Mississippi, 1994, p.241
[16] Guthrie, Danille-Taylor. Conversations with Toni Morrison. Jackson: University Press of Mississippi, 1997, p.40
[17] Harding Wendy, Martin Jacky. A World of Difference: An Inter-Cultural Study of Toni Morrison’s Novels.London: Greenwood Press, 1994, p.162
[18] Hawthorn, Jeremy. ed. A Glossary of Contemporary Literary Theory [Z]. London & New York: Oxford University Press Inc.2000, p.258
[19] Hornby, A.S. ed. Oxford Advanced Learner’s Dictionary of Current English. Oxford: Oxford University Press, 1988, p.13
[20] Humphrey, Robert. Stream-of–consciousness in the Modern Novel [M]. Berkeley: University of California Press, 1955, p.24
[21] James, Williams. The Principle of Psychology [M]. New York: Denver, 1950, p.239
[22] Kakutani, Michiko. Books of the Times. http://www.reviewsofbooks.com/love/ (2006-10-15)
[23] LeClair, Thomas. The language must not sweat: a conversation with Toni Morrison. Ed. Tailor-Guthrie. Jackson: University Press of Mississippi. p.119-128
[24] Margaret, Atwood. Haunted By Their Nightmares, in The New York Times Book Review, September 13, 1987, p150
[25] Marsha, Darling. In the Realm of Responsibility: A Conversation with Toni Morrison, Women’s Review of Books 5(March 1978), p.6
[26] Mbalia, Doreatha D. Toni Morrison’s Developing Class Consciousness. London and Toronto: Associated University Press, 1991, p.101
[27] Mckay, Y. Toni Morrison’s Beloved: A Casebook. New York: Oxford University Press, 1999, p.39
[28] Mobley, Marilyn Sanders. A Different Remembering: Memory, History and Meaning in Toni Morrison’s Beloved. Ed. Harold Bloom. New York & Philadelphia: Chelsea House Publishers, 1990, p.189-99
[29] Morrison, Toni. Beloved. Beijing: Foreign Language Teaching and Research Press, 2000
[30] Morrison, Toni. Memory, Creation and Writing. Thought 59 (December 1984): p.385-90
[31] Morrison, Toni.“Rootedness: The Ancestor as Foundation”, Black Women Writers (1950-1980): A Critical Evaluation, ed. Mari Evans. New York: Doubleday, 1984, p.341
[32] Morrison, Toni. The Nobel Lecture in Literature. 1993. New York: Knopf, 1995
[33] Morrison, Toni. The Site of Memory. Inventing the Truth: The Art and Craft of the Memoir, ed. William Zinsser. Boston: Houghton Mifflin, 1987, p.191, p.193
[34] Nobel Prize for Literature 1993---Press Release [OL]. Retrieved 7 Oct. 2006.〈http://www.nobel.se/literature/laureates/1993.htm〉
[35] Perez-Torres, Rafael. Knitting and Kotting the Narrative Thread---Beloved as postmodern Novel, ToniMorrison, ed. Linden Peach, New York: St. Martin’s Press, 1998, p.136
[36] Perez-Torres, Rafael. Knitting and Knotting the Narrative Thread: Beloved as Postmodern Novel [A]. Ed. Peach Linden. Toni Morrison [C]. New York: St. Martins Press, 1993, p.161-89
[37] Phelan, James. Toward a Rhetorical Reader-Response Criticism; the Difficult, the Stubborn, and the Ending of Beloved, Toni Morrison---Critical and Theoretical Approaches. Baltimore and London: The Johns Hopkins University Press, 1997, p.226-9
[38] Philip, Page. Dangerous Freedom: Fusion and Fragmentation in Toni Morrison’s Novels [M]. Jackson: University Press of Mississippi, 1995, p.140
[39] Pierre Brunel. ed. Companion to Literary Myths, heroes and Archetypes. London: Routledge, 1996
[40] Rabinowitz, Peter J. Whirl without End: Audience-oriented Criticism [A]. Contemporary Literary Theory. Eds. G. Douglas Atkins and Laura Morrow. Amherst: The University of Massachusetts Press, 1989, p.81-100
[41] Rigney, Barbara Hill. The Voices of Toni Morrison. Columbus: Ohio State University Press, 1991, p.32
[42] Rimmon-Kenan, Shlomith. Narrative Fiction: Contemporary Poetics. Ithaca: Cornell University Press, 1983, p.59-70
[43] Rimmon-Kenan, Shlomith. A Glance beyond Doubt: Narration Representation. Ohio State University, 1998.
[44] Rodrigues, Eusebio L. The Telling of Beloved. The Journal of Narrative Technique 21.2 (1991): p.296
[45] Sale, Maggie. Call and Responser as Critical Method: African-American Oral Traditions and Beloved [M]. African American Review, 1992.
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[2] Bonnie Anglo. An Interview with Toni Morrison: The Pain of Being Black. May 22, 1989, p.68
[3] Carden, Mary. Models of Memory and Romance: The Dual Endings of Toni Morrison's Beloved. Twentieth Century Literature, 1999.
[4] David, Ron. Toni Morrison Explained: A Reader’s Road Map to the Novels [M]. New York: Random House, 2000.
[5] Davis, Kimberly. "Postmodern blackness": Toni Morrison's 'Beloved' and the end of history. Twentieth Century Literature, 1998.
[6] Draper, James P. ed. Black Literature Criticism [M]. Detroit: Gale Research, 1992, p.1422
[7] Ellison, Ralph. Richard Wright’s Blues (A). Shadow and Act. New York: Vintage Books, 1995, p.75
[8] Ferguson, Rececca. History, Memory and Language in Toni Morrison’s Beloved. New York: Hemel Hempstead, 1991.
[9] Foucault, Michael. The Archaeology of Knowledge. New York: Harper Colophon, 1972.
[10] Frye, Northrop. The Great Code: The Bible and Literature. London: Routledge, 1982, p.148
[11] Genette, Gerard. Narrative Discourse [M]. Trans, Jane E. Lewin. Ithaca: Cornell University Press, 1980, p.189, p.190, p.191.
[12] Genette, Gerard. Narative Discourse Revisited [M]. New York: Cornell University Press, 1990, p.74
[13] Gilroy, Paul. Living Memory: A Meeting with Toni Morrison [A]. Small Arts: Thoughts on the Politics of Black Culture. London: Serpent’s Tail, 1993, p.165-87
[14] Grewal, Gurleen. Circles of Sorrow, Lines of Struggle: the Novels of Toni Morrison. Baton Rouge: Louisiana State University Press, 1998, p.74
[15] Guthrie, Danille-Taylor. ed. Conversations with Toni Morrison. Jackson: University Press of Mississippi, 1994, p.241
[16] Guthrie, Danille-Taylor. Conversations with Toni Morrison. Jackson: University Press of Mississippi, 1997, p.40
[17] Harding Wendy, Martin Jacky. A World of Difference: An Inter-Cultural Study of Toni Morrison’s Novels.London: Greenwood Press, 1994, p.162
[18] Hawthorn, Jeremy. ed. A Glossary of Contemporary Literary Theory [Z]. London & New York: Oxford University Press Inc.2000, p.258
[19] Hornby, A.S. ed. Oxford Advanced Learner’s Dictionary of Current English. Oxford: Oxford University Press, 1988, p.13
[20] Humphrey, Robert. Stream-of–consciousness in the Modern Novel [M]. Berkeley: University of California Press, 1955, p.24
[21] James, Williams. The Principle of Psychology [M]. New York: Denver, 1950, p.239
[22] Kakutani, Michiko. Books of the Times. http://www.reviewsofbooks.com/love/ (2006-10-15)
[23] LeClair, Thomas. The language must not sweat: a conversation with Toni Morrison. Ed. Tailor-Guthrie. Jackson: University Press of Mississippi. p.119-128
[24] Margaret, Atwood. Haunted By Their Nightmares, in The New York Times Book Review, September 13, 1987, p150
[25] Marsha, Darling. In the Realm of Responsibility: A Conversation with Toni Morrison, Women’s Review of Books 5(March 1978), p.6
[26] Mbalia, Doreatha D. Toni Morrison’s Developing Class Consciousness. London and Toronto: Associated University Press, 1991, p.101
[27] Mckay, Y. Toni Morrison’s Beloved: A Casebook. New York: Oxford University Press, 1999, p.39
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